由弗兰克 莫拉尼亚出版发行的刊物
在《美国风琴演奏家（1998年至今》里发表的音乐评论


应用的语言解决方法关闭的在线转换

JULIAN BRET, PIERRE CHOLLEY, FRANÇOIS-HENRY HOUBART, YOURI KASPAROV, ANDRÉS LAPRIDA, FRANÇOIS VERCKEN, L’orgue et la danse, Six pièces pour grand-orgue. Les Editions du Chant du Monde (ORG 4290), 31-33, rue Vandrezanne, 75013 Paris (Phone 01 53 80 38 01, Fax 01 53 80 12 18, jjouvanceau@chantdumonde.com). What is the dance in relation to music? In commissioning this collection, the estimable French publisher of 20th century music Les Editions du Chant du Monde has afforded an opportunity for at least six international composers to ponder the question. Their work was premiered by Hervé Désarbre at Church of the Madeleine, Paris, in April 1999. Two of the pieces, “La Valse des Anges” by Julian Bret and “La bonne humeur de Monsieur Degeyter” by Youri Kasparov, give first impressions of being backward-looking, parlor organ-style pieces, but are, perhaps, tongue-in-cheek Warholesque commentaries on the irreverence of our time, with an “anything goes” approach toward flighty tonal excursion within an otherwise trite diatonicism. “La bonne humeur” is based upon the 19th century Parisian Communist song and former Soviet national anthem “L’Internationale,” set in waltz-time. Pierre Cholley’s “Rumba sur les grands-jeux” reads too much like a classically-trained musician’s initial foray into the popular vein, in which the thematic material is treated too preciously and the formal digressions are overly calculated. François-Henri Houbart’s “La Habanera du Général” is the most economically written piece, and the initial rhythmic ostinato stays firmly implanted in the ear even when not overtly stated on the page. In this way, the composer remains free to speak his own harmonic language, even in the midst of a wayward fugato. “Florinda” by Andrés Laprida is a short-breathed soliloquy which achieves an expressive thrust through harmonic and rhythmic piquancy in spite of its root-centeredness; “Tango-Rondo-Barjo” by François Vercken deploys the same concept but without a tonal center, and is humorous in its insistence upon one-and-the-same figural pattern.